Resonance

[WebAndNet.com]

I disagree. Fill a drum with air, and it resonates. Fill it with tissue and air, and it still resonates, though with a different sound.

I'll also explain how the chest is a resonator-cavity in my next posting.

[Steven Fraser]

WebAndNet.com and Martin H

As we do this, lets take a bit of care to distinguish between Resonance and Vibration. I've been through this discussion before. Its been my experience that most difficulties on this topic are the result of differences in what the participants mean by these two words.

[Guest]

Hi Steve

I'm intrigued here! I believe there to be little difference in these words. You could say vibration is just an oscillation and resonance, frequencies from the oscillation...yet vibration and resonance are so closely intertwined that I'm not sure it really makes a great deal of difference! We vibrate or don't vibrate, resonate or don't resonate with each other. You cannot get resonance without vibration. Each organ in the body has a resonance and vibration with specific frequencies. Please explain the difference to me? love Hilary

[Steven Fraser]

Hi Steve

I'm intrigued here! I believe there to be little difference in these words. You could say vibration is just an oscillation and resonance, frequencies from the oscillation...yet vibration and resonance are so closely intertwined that I'm not sure it really makes a great deal of difference! We vibrate or don't vibrate, resonate or don't resonate with each other. You cannot get resonance without vibration. Each organ in the body has a resonance and vibration with specific frequencies. Please explain the difference to me? love Hilary

Hilary,

Thanks for your reply.

Yes, vibration and resonance are very closely related to each other. :-)

To start, lets consider sounds that occur around us where we can identify both resonant vibration, and nonresonoant vibration occuring. If at a dinner, someone taps the side of a wine glass with a metal fork to get our attention in a large room, mechanical energy is transferred into the bowl of the glass from the fork, and (if we are in the room) we can hear a note.

What is happening in the material of the glass is that the energy of the tap is transferred into mechanical energy in the glass material, which because of its symmetry begins rapidly to oscillate with a periodic wave form specific to its size, shape, material of the glass, and the contents of the glass. Some of this periodic energy is transferred to the air around the glass, so that we can hear the sound. As we listen, the sound persists for a moment, perhaps some small number of seconds, getting quieter as time passes.

The part of this which is resonant is the way the glass reacts to create a sustained note. The glass 'rings' on its resonant frequency with harmonics of that frequency present as well, due to the way the structure of the glass oscillates after the tap. The note we get does not depend on how hard the glass is hit, or with what. If tapped with a fingernail, or even the eraser of a pencil, the fundamental frequency of the note will be the same, though with harder things the higher harmonics may be louder.

A good indicator that resonance is occuring in this glass is that the sound continues to be emitted by the glass for some measurable time after the tap.

Now, lets consider the part of this that we hear, which is the vibration of the air in our ears as the sound waves reach us. These waves are not in the glass any longer, but have travelled across the room to us through the air. When they touch the eardrum, the eardrum vibrates in sympathy with the sound waves, and the pressure pattern of the sound wave is transferred to the stirrup bone in the middle ear. The vibration of the eardrum is not resonant in this case, it is just moving with the change in pressure of the ambient air.

In a reversed situation, lets consider the sounds at a fireworks display. The explosions of the shells cause pulses of air pressure to travel to where we are watching the display. However, there is nothing resonant in the pop of the shell, at least as far as our hearing (and feeling) of the thump. The explosion causes a pulse of higher air pressure, and we experience it. At the set of drums nearby, however, there is lots going on. When the thump occurs, each drum will respond with its note. The passing pressure wave will cause the drum head to move, and the energy of the pressure wave will resonate in the drum - it will produce its usual note, perhaps sustaining for some small number of seconds.

To the physicist, resonance has some requirements: 1) The frequency of the tone is due to the characteristics of the resonant body itself, and not to the original source of the energy. This is called its 'Natural Frequency'. 2) There must be some way to impart energy to the item that causes it to respond with its Natural Frequency. 3) Lack of damping, or energy loss. For resonance to occur, the energy has to stay in the material for a period of time.

Thinking back to our glass, If we hold the the glass by the stem, the bowl is free to vibrate, and the glass resonates. If, however, we grip the bowl of the glass quite firmly with a few fingers, even though we tap it hard, we get no note... only a click. The glass is not resonant, because the energy is absorbed by the fingers, and cannot travel far around the bowl of the glass.

If the drummer puts a hand flat on the kettle drum, even though the thump of the firework is loud, the drum head will not resonate. In both of these cases, the energy is absorbed before resonance can occur because the hand (in both cases) is damping the vibrations.

How are we doing so far?

[WebAndNet.com]

I never was good at waves and physics.

My understanding of resonance is it needs a sound source and then a frequency reflective material. When the reflective and emitting frequencies enhance each other, resonance (think resound) occurs with greater frequency amplitude or reinforcement.

Material in shapes have natural frequencies of vibration, and if shaped opposing circular or spherical, as in a circular glass or drum, the reflected frequencies can reinforce each other giving the item resonance.

In the human body though, I believe the resonance we’re mostly concerned with is an emitting frequency (vocal cord) and how the reflecting materials (organs and tissues) resonate with the emitting frequency.

[WebAndNet.com]

Resonance: The Body Parts that can INCREASE Resonance.

The initial question of this post is how to increase resonance; so, let’s start by examining what body parts can INCREASE resonance. We’ll discuss what is and how is resonance later.

The skull, sinuse cavity, individual bones and cartilage, ligaments, tendons, blood—these cannot be easily changed, so we cannot say these change resonance (and increase is a change), though resonance may increase in these. For example, the sinus cavity itself does not increase resonance, as the sinus cavity itself is fixed. An external sound source can increase the resonance in the sinus cavity.

For our purposes here, we'll simply include that a desire for increased resonance is required for the nervous system.

Muscles, the arrangement of skeletal system by muscles and movable cartilage, myofascia arrangement of the muscles, skeletal system and tissues— all these can be changed--so we should look for increases in resonance here. For example, by moving the muscles, cartilage, and myofascia tissue all around the larynx, we can affect resonance.

Are there any physical body parts I’m unaware of that can be changed to change resonance, before moving onto examining what is body resonance and what is vibration?

[Steven Fraser]

Resonance: The Body Parts that can INCREASE Resonance.

The initial question of this post is how to increase resonance; so, let’s start by examining what body parts can INCREASE resonance. We’ll discuss what is and how is resonance later.

The skull, sinus cavity, individual bones and cartilage, ligaments, tendons, blood—these cannot be easily changed, so we cannot say these change resonance (and increase is a change), though resonance may increase in these. For example, the sinus cavity itself does not increase resonance, as the sinus cavity itself is fixed. An external sound source can increase the resonance in the sinus cavity.

For our purposes here, we'll simply include that a desire for increased resonance is required for the nervous system.

Muscles, the arrangement of skeletal system by muscles and movable cartilage, myofascia arrangement of the muscles, skeletal system and tissues— all these can be changed--so we should look for increases in resonance here. For example, by moving the muscles, cartilage, and myofascia tissue all around the larynx, we can affect resonance.

Are there any physical body parts I’m unaware of that can be changed to change resonance, before moving onto examining what is body resonance and what is vibration?

WebAndNet: Yes there are parts of the body that you have not listed, that have a great effect on vocal resonance, and a very large effect on the vocal tone we hear: the spaces of the vocal tract. The physical parts of the body which shape the vocal tract by their position IMO should be essential to any discussion of what causes, and what can improve, resonance.

[WebAndNet.com]

The vocal tract components are primarily the muscles, cartilage, myofascia tissue, and their supporting and shaping bones. I guess lung tissues and surface tissue of the vocal tract might be included, but again, as said, these don't change the resonance--they are part of resonance. The saliva and mucus producing tissues may also change resonance, but these are lesser effect and difficult to control.

I'm using terms differently than what might be expected. For example, a larynx in resonance is composed of certain types of muscles, cartilage, and even certain larynx specific tissues, but my focus is on what CHANGES the resonance--which are muscles, cartilage, and myofascia tissue. I still don't know of any other type of body matters that change resonance than above mentioned--Muscles, the arrangement of skeletal system by muscles and movable cartilage, myofascia arrangement of the muscles, skeletal system and tissues.

[Guest]

Hi guys sorry for my delayed response! Yes this is all very interesting, answers some of the questions but is getting a bit distracting too.

For more info you must read CYMATICS the work of Dr Hans Jenny (from the Greek word KYMA which means 'wave') and study some of John Beaulieu's work who is a Naturopath/Osteopath who has done very intensive sound study on the skeletal structure of the body , Fabien Maman on his work with sound and cancer cells AND the work of Dr Alfred Tomatis who studied the ear for over 50 years. Sound vibration/resonance goes in through the ear and connects into the occipital bone in the cranium and connects via the vagus nerve into all the major organs of the body. In addition the body has a fundamental tone that is unique to each individual....hence each individual has a unique voice. The voice box is only an outlet for resonance to come through. The sound and resonance and vibration is deep inside the soul. That is why singing is only a small percentage technique for protection of the vocal mechanism but THE SOUND comes through the body from the soul. When you tone you are resonating with your body. You can resonate an exact frequency for each organ, a vibration that does not resonate with you will make you ill, a matching resonance will make you better and then we get into entrainment also. The academic difference between vibration and resonance is academic and I'm not sure personally that vibration comes first...this is only my own experience and perception...but I think the resonance is the higher aspect and the vibration the lower. That is why the singer has to raise up to the right resonant frequency before the glass vibrates and shatters! Just my slant guys! love Hilary ps ask glass shatterer Jaime Vendera on this one?

[Steven Fraser]

The vocal tract components are primarily the muscles, cartilage, myofascia tissue, and their supporting and shaping bones. I guess lung tissues and surface tissue of the vocal tract might be included, but again, as said, these don't change the resonance--they are part of resonance. The saliva and mucus producing tissues may also change resonance, but these are lesser effect and difficult to control.

I'm using terms differently than what might be expected. For example, a larynx in resonance is composed of certain types of muscles, cartilage, and even certain larynx specific tissues, but my focus is on what CHANGES the resonance--which are muscles, cartilage, and myofascia tissue. I still don't know of any other type of body matters that change resonance than above mentioned--Muscles, the arrangement of skeletal system by muscles and movable cartilage, myofascia arrangement of the muscles, skeletal system and tissues.

WebAndNet:

I agree with you, you are using the terms differently than I expected. :-) So, I'd like to pause for a moment, and ask the question: Are you interested to know what will affect how the voice sounds externally as you sing, or your body feels internally as you sing?

They are a bit related, as they both occur as a result of aspects of the singing. However, there are often strong vibrations in the body during singing that do not in a measurable way affect the vocal tone quality which is heard by listeners. These are quite real to the singer, and are direct effects of the vocal tone production, so they are personally useful to the singing individual. They can be felt all over the body in a variety of ways, but that does not mean that the are very audible, if at all, to a listener.

So, If it is the audible sounds you care about, I would be happy to provide some comments on the current thinking by voice scientists on how the vocal tract resonates, and how it interacts with the sound pulses emitted at the larynx during phonation. These 2 items have a huge effect on the characteristics of the vocal tone, and are well understood in the way that small changes will have predictable results in tone quality.

If it is the latter, then I will not have much to offer, I am sorry to say.

[WebAndNet.com]

The initial topic question is how to INCREASE resonance. Most of the conversation here has to do with what or where resonance occurs.

Let's first define WHAT can increase body resonance, then define WHAT body resonance is, and then we should be able to figure out HOW to increase resonance.

If resonance increases internally, I would guess a person would feel greater resonance and sound externally more resonant. We'll know this after we figure out the next question-- what is body resonance?

>>>>

However, there are often strong vibrations in the body during singing that do not in a measurable way affect the vocal tone quality which is heard by listeners. These are quite real to the singer, and are direct effects of the vocal tone production, so they are personally useful to the singing individual. They can be felt all over the body in a variety of ways, but that does not mean that the are very audible, if at all, to a listener.

>>>>

I'll describe body vibrations and resonance next. But, I'm very curious as to who came up with the above, as I suspect the body vibrations and tonal qualities are interconnected.

Meanwhile, if you know of a scientific study from researchers able to isolate a microphone to measure very specific parts of the body's sound, this would shed a lot of information. I would suspect this study would be difficult to make, because to measure the sound coming from the chest only, one would have to isolate the chest microphone from sound waves coming from any other part of the body. But, they might be able to use all kinds of filtering mechanisms and mathematics as well.

[Steven Fraser]

The initial topic question is how to INCREASE resonance. Most of the conversation here has to do with what or where resonance occurs

WebAndNet: OK, I will respond directly to the topic. To increase (or optimize) resonance in the sung tone, the singer brings the breath energy into balance with the muscle action in the larynx, producing strong pressure wave pulses from the open phase of the glottal cycle. This provides a rich harmonic content to the phonated part of the tone. Coordinated with this, the singer shapes the vocal tract to position the resonances of the vocal tract so that they align with the harmonics that the singer desires to emphasize. Typically, those harmonics are in 2 groups: 1) the harmonics that form the vowel, and the upper harmonics which cluster in the 2500-4000Hz range.

The physical parts which form the vocal tract, and which shape its dimensions, are:

1) The vertical position of the larynx in the throat. This, with the positioning of the lips, determines the overall vocal tract length. Overall vocal tract length determines the 'resting' frequency positions of all of the formants of the vocal tract. When the vocal tract is short, the formants of the tract are higher in frequency. When the tract is longer, the formants are lower in frequency.

2) the epilaryngeal tube, the part of the larynx immediately above the vocal bands, which, when narrow in comparision with the diameter of the lower pharynx, forms a high frequency resonator for the 2500-4000Hz range (depending on voice type),

3) the pharygeal wall, which forms the vertical part of the throat,

4) the tongue, which arises at the front wall of the pharynx and extends upward and forward into the mouth, and is the principal determinant of the tuning of the vowel formants,

5) the soft palate, which opens or shuts the velopharyngeal port (VP), allowing the tone to be nasal or not at the singer's discretion. If the VP, is open, the nasal passages are acoustically coupled to the vocal tract, and interfere with its overall efficiency as a resonator,

6) the hard palate, which forms the fixed shape of the roof of the mouth,

7) the lower jaw, which by its various positions relative to the hard palate creates more or less space in the mouth affecting the tuning of both of the vowel formants, and

8) the lips, which by their position and shape, influence the overall length of the vocal tract and fine-tune the upper vowel formant.

What an individual singer does to increase the resonance of vocal tone depends on their level of accomplishment, essentially how optimally they achieve balanced, energetic phonation and vocal tract tuning. For most singers, this also involves the reduction and removal of tensions which diminish the efficiency of the phonation, or which interfere with the shaping of the vocal tract.

[Robert Lunte]

In Bel Canto, it's all about placing the voice as forward as possible - singing as brightly as possible - with an energized vowel shape & with mental clarity focussing on the sound of the vowel being as clear as possible. When the voice is forward, and the vowel is well-shaped (round) and clear, the clarity and strength of the tone is optimal for ease of singing, good legato, comfortable movement through the passiagio, and support of higher notes. In order to help my students understand this, I invite them to think of the voice resonating *from* the lips, or beginning at the lips. A hum, during which the lips 'tickle', means the voice is resonating in the forward position. I agree with the above post that the voice cannot resonate effectively without the right support - which is a free-flowing breath. This is always the first thing we work on.

All that being said, I tell my students in our first meeting, that it is not my job to impose a technique upon them, or try to promote a technique to them. There is no one 'right' method, although I feel strongly that any good method would advocate removing tension & strain, releasing the natural voice, avoid manipulation (except in shaping the sound with the mouth), and, in time, lead to absolute ease in singing thoughout the range 'all in one voice' with a consistent tone.

I tell my students it's my job to listen to where they are right now, in this moment, and organically respond to what I hear, sense & see. IMHO, the student (and the voice), leads.

Hi Vicki, its great to have you here at TMV>.. welcome... thanks for contributing to our forum... you will find that the forum becomes the heart beat of the community... thanks to contributors like you that help us to get it rolling.:D

[Guest]

The initial topic question is how to INCREASE resonance. Most of the conversation here has to do with what or where resonance occurs.

Let's first define WHAT can increase body resonance, then define WHAT body resonance is, and then we should be able to figure out HOW to increase resonance.

If resonance increases internally, I would guess a person would feel greater resonance and sound externally more resonant. We'll know this after we figure out the next question-- what is body resonance?

>>>>

However, there are often strong vibrations in the body during singing that do not in a measurable way affect the vocal tone quality which is heard by listeners. These are quite real to the singer, and are direct effects of the vocal tone production, so they are personally useful to the singing individual. They can be felt all over the body in a variety of ways, but that does not mean that the are very audible, if at all, to a listener.

>>>>

I'll describe body vibrations and resonance next. But, I'm very curious as to who came up with the above, as I suspect the body vibrations and tonal qualities are interconnected.

Meanwhile, if you know of a scientific study from researchers able to isolate a microphone to measure very specific parts of the body's sound, this would shed a lot of information. I would suspect this study would be difficult to make, because to measure the sound coming from the chest only, one would have to isolate the chest microphone from sound waves coming from any other part of the body. But, they might be able to use all kinds of filtering mechanisms and mathematics as well.

Yes...well....The study of Cymatics shows how vibration and resonance will bring particles into perfect shapes plus much more information. Masuru Emoto also shows how vibration and resonance affects water. Dr Peter Guy Manners (Cymatics) has isolated the frequencies of each organ of the body. http://www.cymatics.org.uk/

Whether he has produced Chest cavity sound I cannot say for certain. I suggest you take a look on the internet. I have personally met Dr Manners and I am aware of practitioners using his specific machines for healing. Dr John Beaulieu may also have information on this www.biosonicenterprises.com!

Regarding a singers voice and measurable effects....when singing through an amplification system and a mic with condensors etc. All natural harmonics will be lost just as digital recording has lost 50% of the natural resonance of the voice in recordings. When you use the voice focussed towards a person...your voice and ALL IT's content of thought, emotion and resonance IS TRANSFERRED INTO THE RESONANCE OF THE PERSON YOU ARE DIRECTING IT AT!! When you understand the power of resonance in healing you learn much more about the voice's effects on the listener! Singers do affect people.....I have that on personal experience and comments from people about other singers! If you are trying to scientifically measure this..there is no machine or instrument that can do it I am aware of.......unless you possibly contact NASA. There is advanced measuring technology within NASA not available elsewhere.

love Hilary

[Darrison N Bentheim-Murat]

Great post Hilary- to an even greater extent remember all matter is energy in vibration, even the hardest rock is made up of energy particles in it's sub atomic structure. All life then is vibration and resonance (you can look up string theory and particle theory for detailed information)

Resonance in and of itself is only part as you can end up swallowing the sound unless the projection is proper(even bone resonance becomes worth less if it's not the projected outward) espeacially in unamplified performance. You have to know where the sweet spots are in the theatre or Opera house and project there. You actually do not sing into the crowd as their bodies and the white noise thereof will absorb the sound and kill the overtones. You want to sing the words to them while projecting to the sweet spots and always focusing away from the body while grounding the support. Think of your legs as the roots you want that part of the support ground and deep in the dirt. The voice then out and upward like branchs, however you always want to keep the roots firmly in the ground and the base stable. Like a pyramid you want a wide and firm stable base and the voice should evenly grade from the highest note(pitch) down to the lowest. This creates a very stable voice, with clean and even register transitions once well trained you won't really have to think about the passagio as your reflexs should cause the bridging automatically.

[Guest]

Hey Darrison...thanks for the additonal info and YES that's what I teach...stable ground support and the voice reaching up! As you say the passagio becomes a more 'intuitive' thing then and you move effortlessly through it!

Glad to see you back in the contributors to the forum! love H :)

[WebAndNet.com]

WebAndNet: OK, I will respond directly to the topic. To increase (or optimize) resonance in the sung tone, the singer brings the breath energy into balance with the muscle action in the larynx, producing strong pressure wave pulses from the open phase of the glottal cycle. This provides a rich harmonic content to the phonated part of the tone. Coordinated with this, the singer shapes the vocal tract to position the resonances of the vocal tract so that they align with the harmonics that the singer desires to emphasize. Typically, those harmonics are in 2 groups: 1) the harmonics that form the vowel, and the upper harmonics which cluster in the 2500-4000Hz range.

The physical parts which form the vocal tract, and which shape its dimensions, are:

1) The vertical position of the larynx in the throat. This, with the positioning of the lips, determines the overall vocal tract length. Overall vocal tract length determines the 'resting' frequency positions of all of the formants of the vocal tract. When the vocal tract is short, the formants of the tract are higher in frequency. When the tract is longer, the formants are lower in frequency.

2) the epilaryngeal tube, the part of the larynx immediately above the vocal bands, which, when narrow in comparision with the diameter of the lower pharynx, forms a high frequency resonator for the 2500-4000Hz range (depending on voice type),

3) the pharygeal wall, which forms the vertical part of the throat,

4) the tongue, which arises at the front wall of the pharynx and extends upward and forward into the mouth, and is the principal determinant of the tuning of the vowel formants,

5) the soft palate, which opens or shuts the velopharyngeal port (VP), allowing the tone to be nasal or not at the singer's discretion. If the VP, is open, the nasal passages are acoustically coupled to the vocal tract, and interfere with its overall efficiency as a resonator,

6) the hard palate, which forms the fixed shape of the roof of the mouth,

7) the lower jaw, which by its various positions relative to the hard palate creates more or less space in the mouth affecting the tuning of both of the vowel formants, and

8) the lips, which by their position and shape, influence the overall length of the vocal tract and fine-tune the upper vowel formant.

What an individual singer does to increase the resonance of vocal tone depends on their level of accomplishment, essentially how optimally they achieve balanced, energetic phonation and vocal tract tuning. For most singers, this also involves the reduction and removal of tensions which diminish the efficiency of the phonation, or which interfere with the shaping of the vocal tract.

Thank you Steven,

This describes a major part of resonantion, and even more so sound production; however, I believe it doesn't answer how to increase resonance. In summary, as it relates to resonance increase, the above says, the singer's skills, some reduction of tension, and a process of the sound-production-resonance extending from the larynx to the mouth. I'll agree that from the larynx to the mouth is the largest resonance area. But, the question is how to increase resonance, and there are more body parts involved.

I'm a bit busy right now, but later I'll describe, in my opinion, what body parts resonantes and vibrates; and from here, we'll figure out how to increase resonance.

[Darrison N Bentheim-Murat]

I'd like to add a few thoughts to this post. In Opera espeacially in old world style and dramatic role. Full bone resonance is also used, that is the cheek bones and bones of the frontal nasal structure. You can actually see and feel the vibration trough your entire skeletal structure. If you place your hand on top of your head you feel the full vibration in the skull bones. One thing I am not hearing anything about here is the projection of resonance, ultimately if you have a great excess of resonance and aren't able to properly focus and project it it's a huge waste. It will sound loud and full to you on the inside, but will not do much outwardly for the listener or your final product. You do have to look at and identify the inner workings to maximize resonance, however you need to learn to focus and project it away from yourself. If you are not projecting it you are essentially do the work for naught. Maestro Rosati's rule also tought by David Kyle and one that I live by is Maximal Tone for minimal effort. You should certainly give it all that is require and thing further then that is waste. This will vary depending on what you are singing. The general rule most Opera teachers go by is to try to visualize and keep the projection point at 18 inches, even a whisper should be projected to 18 inches, focus to the back of the house. Over projection will generally cause vocalist to go sharp(if they are well trained) or to choke if untrained.

[Steven Fraser]

I'd like to add a few thoughts to this post. In Opera espeacially in old world style and dramatic role. Full bone resonance is also used, that is the cheek bones and bones of the frontal nasal structure. You can actually see and feel the vibration trough your entire skeletal structure. If you place your hand on top of your head you feel the full vibration in the skull bones. One thing I am not hearing anything about here is the projection of resonance...

Darrison: While I expect that vibrations are felt throughout the body by the individual singer (I have them, most everywhere), and I also think they are very important for the singer as biofeedback for the singing that is going on, I view those vibrations as results of the singing activities, not causes. That is why I am continuing to make distinctions between resonance in the vocal tract that affects tone quality, and those other vibrations elsewhere in the body which do not.

As to projection, I think this is largely a psychological element, imagery, to energize the singer's technique, and especially the attitude of the singer about what makes their voice fill the room. I think it reminds us that the internal sensations of vibrations are not necessarily indicative of the audibility of the voice in the hall. They are, surprisingly, often reversed from each other. The tone that feels 'big' in the singer, may be small in the hall, because the tone does not have the proper chiarroscurro (light/dark resonance balance) and registration. Conversely, the tone that feels small, but has proper balance, will be heard easily because of the strong high frequency resonances which are being 'let out'.

[Steven Fraser]

This describes a major part of resonantion, and even more so sound production; however, I believe it doesn't answer how to increase resonance. In summary, as it relates to resonance increase, the above says, the singer's skills, some reduction of tension, and a process of the sound-production-resonance extending from the larynx to the mouth. I'll agree that from the larynx to the mouth is the largest resonance area. But, the question is how to increase resonance, and there are more body parts involved.

WebAndNet: As you can tell from my post, when it comes to singing, the part of resonance I care most about is what directly affects vocal tone. Secondarily, vibration sensed elsewhere in the body which happens when the vocal tone is correct (i.e., chest, bones of the head, sinus cavities, bones, thorax, etc) is also of interest to me, but only as indicators that the vocal function elsewhere is as it should be.

I look forward to your next post. I still think this will be a very delightful discussion.

[WebAndNet.com]

I'd like to add a few thoughts to this post. In Opera espeacially in old world style and dramatic role. Full bone resonance is also used, that is the cheek bones and bones of the frontal nasal structure. You can actually see and feel the vibration trough your entire skeletal structure. If you place your hand on top of your head you feel the full vibration in the skull bones. One thing I am not hearing anything about here is the projection of resonance, ultimately if you have a great excess of resonance and aren't able to properly focus and project it it's a huge waste. It will sound loud and full to you on the inside, but will not do much outwardly for the listener or your final product. You do have to look at and identify the inner workings to maximize resonance, however you need to learn to focus and project it away from yourself. If you are not projecting it you are essentially do the work for naught. Maestro Rosati's rule also tought by David Kyle and one that I live by is Maximal Tone for minimal effort. You should certainly give it all that is require and thing further then that is waste. This will vary depending on what you are singing. The general rule most Opera teachers go by is to try to visualize and keep the projection point at 18 inches, even a whisper should be projected to 18 inches, focus to the back of the house. Over projection will generally cause vocalist to go sharp(if they are well trained) or to choke if untrained.

Thanks Darrison,

So, how does one project? And what does this fully mean when used with a microphone?

And I've never figured this one out--How much does a dynamic mic pick up vibrations outside the immediate mouth area? How about a condensor mic?

Much of the reasons I don't like the vocal tract resonance answers is because I don't think these explain these following phenomenon well:

1. What happens to the vibrations in the chest? Do these reach the microphone?

2. I read in a book that if one wants a recording to sound lower, to aim the condensor mic toward the chest; and if higher, aim it more at the head. The writer didn't fully explain how all this happens, --does the condensor mic actually pick up the vibrations from the chest?

[WebAndNet.com]

As to projection, I think this is largely a psychological element, imagery, to energize the singer's technique, and especially the attitude of the singer about what makes their voice fill the room. I think it reminds us that the internal sensations of vibrations are not necessarily indicative of the audibility of the voice in the hall. They are, surprisingly, often reversed from each other. The tone that feels 'big' in the singer, may be small in the hall, because the tone does not have the proper chiarroscurro (light/dark resonance balance) and registration. Conversely, the tone that feels small, but has proper balance, will be heard easily because of the strong high frequency resonances which are being 'let out'.

Thank you Steven,

Will you kindly elaborate on singer, singer's vibrations, singer's hearing, listener hearing, and actual sound volume?

I think I understand what you mean by chiarroscurro and proper balance affecting "big", but aren't these related to the hearing psychology of the listener rather than the singer? And wouldn't a sound measuring device be the actual determinant of the degree of resonance heard in the hall? I agree that different balances can affect the listener's perception, but before reaching the listener, I'm curious as to the relationship between the singer's perception and measured sound, and wonder if you would shed some light?

Additionally, I'm curious as to how it comes about the singer's perception would become inaccurate, and are there singers whose perception are accurate?

[Darrison N Bentheim-Murat]

Thanks Darrison,

So, how does one project? And what does this fully mean when used with a microphone?

And I've never figured this one out--How much does a dynamic mic pick up vibrations outside the immediate mouth area? How about a condensor mic?

Much of the reasons I don't like the vocal tract resonance answers is because I don't think these explain these following phenomenon well:

1. What happens to the vibrations in the chest? Do these reach the microphone?

2. I read in a book that if one wants a recording to sound lower, to aim the condensor mic toward the chest; and if higher, aim it more at the head. The writer didn't fully explain how all this happens, --does the condensor mic actually pick up the vibrations from the chest?

Last edited by WebAndNet.com (Today 19:09:44)

Chen, Let me start with the last two first. I am not an electronics expert so I don't know much about microphone pic ups other then I try many and use the ones that give me the sound I perfer depending on the application 80% of my singing at this time is unmic-ed, so that question is better asked of a studio professional or eletronics expert.

As for projecting resonance: Luisa Tetrazzini used to refer to this as the attack (which sounds brutal lol) I like to use the word preparation myself.

One of Maestro Kyles sayings which i know Robert uses also was " Good singers , sing and listen- Great Singers listen and sing" This is also in referance to the preparation prior to execution.

In Opera espeacially we are thought these things, to give you a mental Image it is similiar to serving a ball in tennis. where you would plan the shot, take measurement , release the ball and then hit it.

likewise you should picture the sound you want, your projection point. prepare adequate breath for the word, phrase or series of notes and then throw. At first this maybe clumsy, but if you go slow and learn to prepare as such it becomes second nature and the reflex time (lapse time disappears) This is also very helpful in register transition and /or in material where you are moving register to register from high to low , low to high. because there is a clean release and transition. The preparations are slightly different depending on what your singing i.e belting, staccato, lyrically but in each proper preparation means clean execution and the fullest relative projection. Mic-less in opera you must also prepare and throw a whisper so it retains the quality of being a whisper but is projected that it can be heard.

[Guest]

Hi guys in the words of the greatest ear and voice specialist of the 20th century Dr Alfred Tomatis....."one sings with ones ears"meaning listening and singing the right frequencies. In the words of my personal experience "one sings with ones ears and brings resonance from deep inside the body". Why do we build a resonant tract? To bring the resonance from our soul up through our voice and we make the sounds we can hear to the external world as singing! Steve said " the voice tones produce the resonance". My experience is that the voice is the outlet for the resonance..all we do in toning and singing is bring out what is already inside. The frequencies we hear go through the medulla and tiny muscles in the inner ear, then the resonance from outside and inside that we are producing vibrates the occipital bone in the cranium and transmits into the vagus nerve (10th cranial nerve) which carries the resonance through the thoracic and abdominal cavities. The enormous task of this nerve is the functional regulation of a host of organs from THE LARYNX, heart, lungs,stomach, liver, bladder, kidneys, small intestines and colon..all the way to the anus! AND the vagus nerve attaches the outer and inner eardrum on its way south from the brain! Right brain thinking can only see the parts of the body in isolation. The voice is not seperate from the rest of the body...it is an outlet of expression for the body and each of us has our own unique sound...that is why we have such a rich and varied vocal world. If all we did was judge our singing and our resonance on bits of us we would become pretty dysfunctional beings. Darrison is right about projection and projection is not about using microphones...it is about projecting from your soul through your voice. Taking that sound into the resonant or "sweet" spots as D said! This is where technique comes in...... projecting from power and resonance. Microphones only amplify and assist projection! love h PS Read Joshua Leeds The Power of Sound for more on Tomatis & Vagus nerve & psychoacoustics.

[judyrodman]

Wow, I'm rather new to TMV, and just catching up on some of the discussions. This is the first time I read this thread, and I must say, the thoughts expressed make me ever more glad I signed up. How many places can we here these vocal technique issues so intelligently and thoroughly discussed?

That said, my two cents would be that resonance needs to be understood at different levels as vocalist or vocal teacher. I, as teacher, need and want to keep learning about how resonance is formed. However, I find I can totally overwhelm my students with suggestions to open their resonances unless I notice what is particularly limiting that student.

I do find that all students need to wrap their heads around the fact that sound is created by vocal cord vibration resonating off other tissue and bone (alternative resonation zones), not by air pressure pushed through the vocal cords. This is usually news to them. I then teach them some basic anatomy to help them trust the new concepts, but the real work begins as I have them sing and assess whatever direction the cave is not opening. Then it is my job to help them figure out the best method to help them open it.

I find that I can simplify matters by suggesting the vocal cave, or channel, needs to be opened in three directions...

Down (getting the jaw flexibly lowered)

Up (getting the double ceiling of soft palate and the back of the nasal membrane lifted)

and Back (head balanced on tailbone, when hitting hard notes, head cocked slightly back without lifting the chin... think C. Aguilera)

Granted, this last direction is especially useful for contemporary singing, but I was actually able to help a little boy who used to strain his guts out obtain enough range and relaxation that he won the spot of "Amahl" in Amal & the Night Travelers" by also backing his head a bit. It has also helped musical theater actors I've worked with who have experienced strain from the concept of belting.

I love Jamie Vendera's concept of "the inhalation sensation". It helps a lot of my students open the "cave" in all directions, but oddly does not translate to everyone. I always use Jeffrey Allen's voice path shaped like a shepard's crook to get people off the idea of pushing in the "L" shaped path.

OK, what say ye all about these thoughts?